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Posts Tagged ‘Offer’

Plugable’s new 1TB, 2TB Thunderbolt 3 NVMe SSDs offer read speeds up to 2800MB/s

12 Nov

Computer accessory manufacturer Plugable has announced the release of its updated Thunderbolt 3 NVMe External SSDs, now with 1TB and 2TB capacities.

The compact drive is constructed of solid anodized aluminum, weighs 173g (6.1oz) and features an integrated 18cm (7in) 40Gbps Thunderbolt 3 cable (read: not removable). Plugable claims the drive offers read and write speeds of up to 2800MB per second and 1800 MB per second, respectively, thanks to its PCIe Gen3 x4 connection.

In our tests with a 1TB review unit Plugable sent our way to test out the claimed speeds, we were able to reach sustained write speeds of 1915MB per second and sustained read speeds of 2331MB per second using the Blackmagic Design Disk Speed test on macOS Catalina.

A screenshot of our test run on the latest beta of macOS Catalina using a 2016 15.6-inch MacBook Pro with Touchbar.

These drives are backwards compatible with USB-C connections, but to get the fastest speeds, you’ll want to make sure the computer you’re plugging it into features Thunderbolt 3 connectivity. The drives come pre-formatted with exFAT out of the box, but can be reformatted to work with any other macOS or Windows system.

The 1TB and 2TB Plugable Thunderbolt 3 NVMe External SSDs are currently available for $ 299 and $ 499, respectively. Plugable is offering a ‘launch discount’ of $ 50 on the 1TB drive and $ 100 on the 4TB drive for an unspecified amount of time. All units come with a 36-month warranty.

Articles: Digital Photography Review (dpreview.com)

 
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Epson reveals SureColor P7570, P9570 wide-format printers that offer ‘museum quality’ prints

03 Oct

Epson has expanded its SureCore P-Series line of printers with the new wide-format SureColor P7570 and SureColor P9570 models offering 24in and 44in print sizes, UltraChrome PRO12 pigment ink, and PrecisionCore MicroTFP printhead tech. Epson’s Reed Hecht calls the P7570 and P9570 its ‘most advanced printers to date.’

Both printer models feature dedicated nozzles for Matte and Photo Black ink, which eliminates ink switching and improves overall printing speeds. According to Epson, the new 6.6cm (2.6in) PrecisionCore MicroTFP printhead combined with the new 12-color UltraChrome PRO12 pigment ink enables these models to print up to 2.4 times faster than the previous models.

Other features include a new print mode called Black Enhanced Overcoat offering improved DMAX for what Epson says is better sharpness and wider contrast ratio on glossy prints, as well as a 4.3in customizable color touchscreen, support for the optional Epson SpectroProofer, a built-in LED light for viewing prints as they’re printing, and a sealed roll media door designed to better protect against dust.

Talking about what users can expect from these two models is Wilhelm Imaging Research director of research Henry Wilhelm, who said:

Preliminary data for the Epson 12-color UltraChrome PRO12 pigment inks in the new SureColor P7570 and P9570 create stunning museum-quality prints with WIR Display Permanence Ratings that will equal or exceed the ratings achieved by the current UltraChrome HDX inks of up to 200 years for color prints and up to 400 years for B&W. Prints framed with UV-absorbing acrylic – and those displayed under LED illumination – will achieve significantly higher ratings.

Epson plans to showcase its new printers from October 3 to 5 at PRINT19 in Chicago. Both models will launch in December at around $ 4,695 USD (P7570) and $ 6,595 (P9570).

Articles: Digital Photography Review (dpreview.com)

 
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Sony’s FX9 will offer oversampled 4K 4:2:2 10-bit internal recording, Dual Base ISO and more

14 Sep

Sony has unveiled the FX9, a new XDCAM camera that features a 6K full-frame sensor, a hybrid autofocus system and, most interestingly, an E-mount for attaching lenses.

The camera is based around a newly-developed 6K Exmor R sensor that features over 15 stops of dynamic range, Dual Base ISO (ISO 800 and 4000 in S-Log 3) taken from Sony’s Venice cameras and internal oversampled 4K 4:2:2 10-bit recording. Sony does note though that the FX9 will only support 3840×2160 recording at launch with full 4096×2160 recording following in a future update. The FX9 is also capable of capturing Full HD at 120 frames per second.

The Fast Hybrid AF system features a 561-point phase-detection AF sensor that covers roughly 94 percent the width and 96 percent the height of the imaging area. Sony has also taken inspiration from its FS7 series and included a continuously variable electronic variable neutral density (ND) filter.

An illustration comparing Sony’s Exmor CMOS sensor to its new Exmor R CMOS sensor.

The FX9 is also capable of recording image stabilization metadata that will be able to be imported into Sony’s Catalyst Browse/Prepare software to precisely stabilize footage in post-production via an update expected to be out in December 2019. Sony says other post-production software developers are being encouraged to adding this functionality as well.

A list of selectable framerates on the FX9 in both full-frame and Super 35 modes.

Sony has also made the FX9 compatible with existing and new accessories, including Sony’s UWP-D wireless microphones, the XDCA-FX9 extender kit that enables 10-bit Super35 4K video at 120 fps (as well as 16-bit Raw output in an upcoming update) and additional accessories.

To pair with the FX9, Sony has announced the FE C 16-35mm T3.1 G, an E-mount lens designed to work hand-in-hand with the new E-mount camera system. The lens features two Extreme Aspherical (XA) elements, an 11-blade aperture diaphragm and floating focus groups to offer improved focusing across the entire zoom range.

The FX9 will be available ‘towards the end of 2019’ while the FE C 16-35mm T3.1 G lens is set for a spring 2020 release. Pricing information hasn’t yet been confirmed for either units.

Sony Launches FX9 4K Camera with Newly-Developed Full-frame Sensor, Dual Base ISO and Fast Hybrid Auto Focus System

Next generation camera offers greater flexibility to bring artistic vision to life

SAN DIEGO, CA — SEPTEMBER 13, 2019 — At IBC 2019 in Amsterdam, Sony today unveiled the PXW-FX9, its first XDCAM camera featuring an advanced 6K² full-frame sensor and Fast Hybrid Auto Focus (AF) system. The new camera offers content creators greater creative freedom and flexibility to capture stunning images that truly resonate with audiences.

Building on the success of the PXW-FS7 and PXW-FS7M2, the FX9 uniquely combines high mobility with an advanced AF system, impressive bokeh and slow-motion capabilities thanks to its newly-developed sensor. The FX9 also inherits its color science and a Dual Base ISO from the VENICE digital motion picture camera, creating the ultimate tool of choice for documentaries, music videos, drama productions and event shooting.

The FX9 was designed in close collaboration with the creative community and is an example of Sony continuously evolving cameras to innovate for the customer and market needs. The FX9 benefits from the versatility, portability and performance expected of an FS7 series “Run & Gun” style camera, while also offering High Dynamic Range and full-frame shooting features.

“We are always listening to our customer’s voice, pushing to deliver innovation that allows them to realize their full artistic intention,” said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. “With the new FX9, we are striking an attractive balance between agility and creative performance. We’ve combined the cinematic appeal of full-frame with advanced professional filmmaking capabilities in a package that’s extremely portable and backed by the extraordinary versatility of Sony E-mount.”

Powerful features

The newly-developed Exmor RTM sensor offers wide dynamic range with high sensitivity, low noise and over 15 stops of latitude that can be recorded internally in 4K³ 4:2:2 10bit. Oversampling of the full-frame 6K sensor’s readout allows professionals to create high-quality 4K footage with impressive bokeh effects through shallow depth of field, while wide-angle shooting opens new possibilities for content creators to express their creativity.

A dual base ISO of 800 and 4000 enables the image sensor’s characteristics to best capture scenes from broad daylight to the middle of the night. With S-CinetoneTM color science, the new sensor can also create soft and alluring facial tones. The camera can also capture content up to five times slow-motion with Full HD 120fps shooting played back at 24p.

The shallow depth of field available with a full-frame image sensor requires precise focus control, and the enhanced Fast Hybrid AF system, with customizable transition speeds and sensitivity settings, combines phase detection AF for fast, accurate subject tracking with contrast AF for exceptional focus accuracy. The dedicated 561-point phase-detection AF sensor covers approximately 94% in width and 96% in height of the imaging area, allowing consistently accurate, responsive tracking – even with fast-moving subjects while maintaining shallow depth of field.

Creative freedom

Inspired by the high mobility “Run & Gun” style approach from the FS7 series of cameras, the FX9 offers content creators shooting flexibility thanks to a continuously variable Electronic Variable ND Filter. This enables instant exposure level changes depending on the filming environment, such as moving from an inside space to outdoors or while filming in changing natural light conditions.

Additionally, the FX9’s image stabilization metadata can be imported to Sony’s Catalyst Browse/Prepare? software, to create incredibly stable visuals even in handheld mode. Sony is also working to encourage third-party non-linear editing tools to adopt this functionality.

The FX9 comes with a wide range of customizations and expansion features. These include compatibility with the new UWP-D series of wireless microphones via Multi Interface Shoe™ (MI Shoe) with digital audio interface, the XDCA-FX9 extender kit enabling 10bit Super35 4K 120fps and 16bit RAW output in a future update, compatibility with Sony BP-GL and BP-FL series batteries, D-Tap, RJ-45 interface and stable “Dual Link” streaming by using two carrier lines, as well as DWX slot-in type digital wireless receiver commonly used in broadcasting settings?. The FX9 will also be compatible with the newly launched E-mount lens FE C 16-35mm T3.1 G, which uniquely balances full manual operability for professional cinema shooting and auto-control functions.

“What narrative cinematographers, documentary filmmakers, music video directors and broadcasters have in common is a need for a flexible camera that allows them to tell unique stories, no matter the environment in which they operate. As a next-generation professional camera, the FX9 captures stunning visuals with the lifelike image quality available from a full-frame sensor, while adding the benefits of advanced auto focus features and customization. This makes it the ultimate creative tool for modern storytellers,” concludes Neal Manowitz.

The FX9 will be available towards the end of 2019 and on display at the Sony stand (A10, Hall 13) at IBC 2019 September 13th– 17th. For more information, please visit www.pro.sony/ibc.

A variety of additional content related to Sony’s cinema imaging products, including articles, videos and events, can be found at www.sonycine.com.

¹Initially supported recoding aspect is 16:9; 17:9 (active about 19M pixels) will be supported by future update.

²6K Oversampling; not capable of 6K recording.

³3840×2160 recording is initially supported; 4096×2160 recording will be supported by future update.

?Planned to be supported by Ver.2019.2 in December 2019.

A future update will be scheduled sequentially for summer 2020. Further details will be announced.

Sony Unveils Full-frame E-Mount Cinema Lens FE C 16-35mm T3.1 G, Designed for High Optical Performance and Reliable Operability

Lens offers greater flexibility for video content creation, with servo zoom and autofocus/autoexposure system

SAN DIEGO, CA — SEPTEMBER 13, 2019 — At IBC 2019 in Amsterdam, Sony today introduced a new full-frame E-mount, 16-35mm lens (FE C 16-35mm T3.1 G) to accompany the newly announced FX9 full-frame camera. The lens offers high optical performance, reliable operability and intelligent shooting functions for cinematographers. It is compatible with the full range of Sony’s E-mount cameras – from Alpha™ interchangeable lens cameras to the VENICE digital cinema camera – bringing unprecedented creative flexibility for all content creators. Sony also announced their intention to expand the FE C Cinema Lens line-up going forward.

“The performance of our new E-mount Cinema Lens series offers filmmakers greater creative freedom and helps them concentrate on their artistic vision. Encompassing the full range of Sony E-mount cameras, our “One Mount” solution is the most powerful system designed for today and for the future,” comments Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics.

Lens for a new age of full-frame video shooting

The new lens is compatible with the intelligent shooting functions of E-mount. Paired with the new full-frame FX9 camera, it supports fast and accurate auto focus, making it possible to track quick-moving subjects while maintaining a shallow depth of field.

Stunning bokeh and corner-to-corner resolution

The two XA (Extreme Aspherical) elements with extreme surface precision of 0.01-micron, together with circular 11-blade apertures, deliver beautifully smooth bokeh in every frame. The two XA elements and three aspheric lenses are positioned in a way that effectively reduces field curvature, astigmatism and, in combination with two ED (Extra-low Dispersion) glasses, reduces color distortion. Additionally, floating focus employs two focusing groups, providing outstanding resolution at every zoom position. Nano AR (Anti Reflection) coating drastically reduces flare and ghost phenomenon.

Excellent operability with three independent rings, remote control from the camera, and a detachable servo zoom

The new E-mount lens further offers accurate and precise operability thanks to three independent rings for focus, zoom and iris that content creators can manipulate to get the exact results they desire. The linear response Manual Focus (MF) feature provides direct adjustment for precise and repeatable manual focusing. The focus ring with a large rotation angle also includes a distance scale, which makes it possible to quickly and easily set the same focus position during scenes that need to be shot repeatedly.

The new range also supports a number of lens accessories to facilitate a variety of different shooting styles. The industry standard 0.8mm pitch gear on each lens ring provides the option to use follow focus and remote actuators. Equally, the widely-available 115mm diameter matte box and lens support can be used to aid accurate, responsive and precise operability. Additional functions include a de-clickable iris ring that prevents unintended iris change during shooting, the option to reverse the rotation direction of the zoom ring to be fitted with user’s preference and detachable servo zoom that provides smooth zooming expression.

The new 16-35mm (FE C 16-35mm T3.1 G) will be available in Spring 2020.

To learn more about the new cinema lens, visit Sony stand (A10, Hall 13) at IBC 2019 September 13th-17th. For more information please visit www.pro.sony/ibc.

A variety of additional content related to Sony’s cinema imaging products, including articles, videos and events, can be found at www.sonycine.com.

Articles: Digital Photography Review (dpreview.com)

 
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Atomos shares info on S1H ProRes Raw update, to offer 16-bit Raw capture with Sony FX9

14 Sep

Atomos has made two announcements that will bring improved video recording capabilities to two recently-released cameras: the Panasonic Lumix S1H and the Sony FX9.

First up, Atomos has shared more information regarding a previous announcement that it was working alongside Panasonic to co-develop a means to capture Raw video for the Lumix S1H. Atomos has now provided both a timeframe (albeit a rough one) and official specifications for the impending firmware update.

Atomos says the S1H firmware update will make it possible to record 5.9K/29.97p Raw and C4K/59.94p video on the Atomos Ninja V monitor-recorder over HDMI. Currently, the Lumix S1H can record 6K/24p (3:2 aspect ratio), 5.9K/29.97p (16:9 aspect ratio) and 59.94p 4K/C4K, so this update will be a substantial bump in recording capabilities.

In its announcement, Panasonic also revealed that ProRes Raw would be the codec supported for Raw recording. The firmware is scheduled to be launched in early 2020.

Atomos has also announced that it’s Neon 8K MCU (Adorama, B&H) will support 4K 16-bit Raw recording from Sony’s recently-unveiled FX9 camera. Details are scarce, but Atomos’ press release, embedded below, implies the functionality will be available when the FX9 ships later this year in December 2019.

It seems Atomos is adamant on working alongside camera manufacturers to get the most from the sensors inside the manufacturers’ latest cameras. In January 2019, Atomos said it was working with Nikon to bring 4K Raw video capture over HDMI to its Ninja V external recorder.

We’ve since learned this update won’t be free and will require cameras to be sent into Nikon service centers to perform an ‘internal upgrade’ to the camera, but the promise still remains. According to the latest information, the 4K Raw video update is still scheduled to be released before the end of the year.

LUMIX S1H Firmware Development Underway for 5.9K/29.97p and C4K/59.94p RAW Video Data Output to Atomos Ninja V

Newark, NJ (September 13, 2019) – Panasonic is proud to announce the development of firmware for the LUMIX S1H full-frame mirrorless camera which enables the output of 5.9K/29.97p RAW and C4K/59.94p video data to the Atomos Ninja V monitor-recorder. The firmware is scheduled to be launched in early 2020.

The LUMIX S1H is the world’s first camera to combine professional-level video quality, the high mobility of a mirrorless camera and a Full-Frame sensor. It is currently capable of video recording at 6K/24p*1 (3:2 aspect ratio), 5.9K/29.97p (16:9 aspect ratio), and 59.94p 4K/C4K.*2 *3 The LUMIX S1H will be introduced in late September 2019.

Panasonic has a long history of collaboration with Atomos. This relationship will deliver new RAW video functionality for the S1H. 5.9K up to 29.97p and C4K*3 up to 59.94p in RAW delivered over HDMI is in development. With this firmware Apple ProRes RAW can be recorded on the Atomos Ninja V.

A LUMIX S1H prototype with this firmware will be exhibited along with the Atomos Ninja V in the Panasonic booth (Booth No. C45, Hall 11) at the IBC2019 (International Broadcasting Convention) to be held in Amsterdam, the Netherlands, from September 13-17, 2019.

Atomos Announce 16bit RAW Support on New FX9 From Sony

PORT MELBOURNE, Australia, Sept. 13, 2019 /PRNewswire/ — Off the back of Sony Imaging Products & Solutions Inc. (“Sony”) unveiling their groundbreaking new FX9 today at IBC, Atomos is excited to announce 16bit RAW support from this new camera to the Atomos Neon 8K MCU.

We have a long and proud history of collaborating with revolutionary companies like Sony, we are working closely with the FX9 camera team to deliver 4K 16bit RAW from the FX9 to our Neon cinema monitor-recorders.” Said Jeromy Young, Atomos Co-founder and CEO.

The FX9, which will go to market towards to end of 2019, features an advanced 6K full-frame sensor and has been designed to give professional shooters greater flexibility and capture capability, making it an ideal match for the Atomos Neon range. The FX9 has the same DNA as the popular VENICE cinema camera making it the ideal music, documentary, drama and event shooting.

When paired with an Atomos Neon, the FX9 will be one of the most advanced production tools available today. We’re excited to empower content creators and filmmakers at the highest level through our ongoing work with Sony.” Added Young.

Articles: Digital Photography Review (dpreview.com)

 
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Top Tips for Photographing the Best a City has to Offer in 48-hours

12 Sep

The post Top Tips for Photographing the Best a City has to Offer in 48-hours appeared first on Digital Photography School. It was authored by Matt Murray.

photographing a city-matt-murray

Always be on the lookout for interesting scenes in cities. I saw this view in Taipei from a metro train and went back at dusk.

You have two days and two nights to photograph a city you’ve never been to before. How will you make the most of this opportunity and come away with amazing photos?

You could just turn up without much advance thought and deliver a stunning set of images that fits the brief perfectly. Leaving things to chance is not always the best plan, though. You will be better prepared and more confident if you research and plan your trip in advance.

Whether you’re working for a client, an editor, or taking photos for your own portfolio, these tips will help you make the most of your trip. Here is a guide to photographing a city and the best it has to offer in 48 hours.

photographing a city-matt-murray

Find what is unique about your destination and capture it.

What’s unique about the city?

The first question you need to ask is what makes the city unique? Does it have stunning architecture? An incredible food scene? Unique modes of transport? Vibrant markets? Make sure you keep this in mind as you plan your trip.

What types and styles of images are you being asked to deliver?

What type of shots are you, your client, or your editor expecting? Find out what their expectations are in as much detail as possible. Is there a particular style or theme you need to shoot for? Will your images be used to accompany a story on a particular subject, for advertising, or as a standalone photo essay?

Think of the final use of your photos. Will you need to capture landscape or portrait orientation photos? Do you need to shoot images with negative space to allow for text to be overlaid?

Image style is an important consideration. Is your client looking for bright, colorful photos? Images showing well-known landmarks? Hidden gems? Photos with a shallow depth of field? Moody black and white images? Photos of people experiencing the city? It’s important to get agreement on this too.

Create a mood board

Visualizing your shots before you go can help the planning process. One way you can achieve this is by creating a mood board for the trip, showing the types and the style of photos you will aim to produce. The good news is, it’s easy to do with a tool such as Pinterest.

A mood board can also be handy if you don’t have a formal brief. If you create one for yourself or your client showing the type and style of images you propose to take, this can stimulate further discussion. It might be exactly what they’re after, or it could prompt them to get involved in the process and suggest changes.

photographing a city-matt-murray

On my list of shots for Taronga Zoo was an iconic view of the Sydney with animals – thankfully, this giraffe helped me out!

Weather and climate

The next thing to research is the expected weather and climate at your destination. Bear in mind, some destinations, such as London and Melbourne, are notorious for variable conditions all year round. Getting a sense of what to expect will help with your daily planning and can guide your choices for clothing and equipment.

For example, if you’re heading to Asia during the wet season, you’ll need to think about taking clothing and camera gear that is water-resistant, whereas if you’re on a trip to somewhere hot and dry, such as Dubai or Death Valley, you may need to consider a hat and sunscreen.

Next, look at the sunrise and sunset times for the city when you will be there and plan your day accordingly. Make a note of them and think of the most important shots you need to capture at those times. These times will also indicate the number of daylight hours you have on location.

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Autumn in Sydney was a good opportunity to capture golden leaves.

Online planning resources

Two resources that can help you are the Photographers Ephemeris and PhotoPills. These handy guides for photographers also give you information like how long the blue hour and golden hour last for, the direction of the sun at sunrise and sunset, and much more. This can be very helpful, though, remember, in built-up environments, you’ll never truly know how the light falls on your scene until you’re there.

Background city research

Researching your destination is one of the most important things to do before you leave. Learn as much as you can. Potential sources of information include travel magazines, travel blogs, official tourism websites, and YouTube videos. It’s also worthwhile downloading guidebooks from companies such as Lonely Planet, or if you’re on a tight budget, you could borrow them from a friend or your local library.

As you’re doing this research, make a note of previous coverage the destination has had in published articles or photo essays. If you plan to use the same or similar angle, aim to capture the destination in a unique or better way.

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Image research

Pay close attention to the types of images used to illustrate and promote this city. What style are they? Do they fall into a particular genre? What kind of lenses do you think the photographer used? This is all useful information.

Then turn to more visual references. What kind of images show up for your destination using a Google image search? Is there a famous view of the city you’d like to capture? Next, search on Instagram. Look at images used by the official city or country accounts, popular hashtags for your destination and even geolocation image searches.

Take a look at recent Instagram posts, carefully reading the description. Was the image taken in the last few days? If it was, this might help you understand the weather or lighting conditions at your destination. If there is no context to when the image was taken, it could’ve been from last month or last year.

Another key place for researching your destination is stock photography sites. What images are the best sellers for the city? Keep these in mind when you’re shooting. As well as your main client, think of other markets where you could sell your images such as stock libraries.

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Always look for detail shots at your destination that show the way of life.

Create your shot list

I love travel photography as it includes so many other genres. On a single assignment, you can include landscapes, cityscapes, street scenes, portraits, food shots, detail shots, architecture, and documentary-style images. Remember this as you create your shot list.

First, lock in the locations you need to be for sunrise and sunset and have a rough plan for the rest of the day. Plot these locations on a map and make sure you’re leaving yourself enough time to look around and photograph unexpected sights. Sometimes the best shots at a destination are not the things you expect to see, but things you didn’t expect to see.

Then list the next most important shots for you or your client. Make these a priority.

Try to capture well-known landmarks in a new or interesting way. This could be through the frame of a doorway or window, a reflection, or a completely different angle or viewpoint not used before.

Jot down a reminder to get a good variety of images at each location you visit – landscape orientation, portrait orientation, images with negative space, and images that crop well for Instagram. Also, think back to why this city is unique or exotic and make a note to get images of the food, people, clothing – anything that’s different.

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Booking your hotel

Now you’ve created your shot list, look at the key locations on your map, and book a hotel nearby. It can be tempting to save money by staying at a hotel further away, but being close to your proposed photography locations is a huge advantage. Not only will it cut down on travel time, but you will also have the advantage of popping back to your room whenever you like throughout the day.

Quite often when I’m photographing a city, I head back to my hotel for a break. You can have a quick rest, grab a hot or cold drink, back up your images, and review the progress you’ve made ready for the next round of photos. You may even need time to warm up or cool down depending on the weather.

With your hotel search, always be on the lookout for historic or beautiful hotels that could provide additional photographic opportunities for you. Also, remember to choose a hotel where you feel like your gear will be safe when you’re not there.

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Carry a travel tripod so you can capture scenes with a slow shutter speed.

Packing your kit

Versatility is the key when packing your kit. Fast zoom lenses are generally the travel photographer’s best friend. Also, look at the notes you made during your research. What type of lenses do you think the photographers used? Does your client expect any images with a very shallow depth of field? Do they want images taken with long telephoto lenses or ultra-wide angle lenses?

Plan your kit, taking into account these considerations along with the expected weather conditions. For a two-day trip, I would typically take the following:

  • Two camera bodies that use the same batteries and lenses, at least one of which is weather resistant.
  • Two zooms covering a wide focal range, at least one of which is weather resistant.
  • One or two small fast prime lenses – these are very handy for low light conditions and shallow depth of field shots.
  • As many reliable high-quality SD cards as you have. Make sure you format them before your trip.
  • As many batteries as you have for your camera system.
  • A small travel tripod and some neutral density filters.

You can see more about the travel kit I take in my article, The Best Fujifilm X-Series Kits for Travel Photography

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Sydney Opera House sails with the Sydney Harbour Bridge in the background.

Traveling to your destination

As your trip approaches, keep an eye on the weather and current events for the city you’re heading to. Will this present any issues or challenges? Is there other gear you may need to bring? As I write this, I am preparing for a few days in Hong Kong, where there are currently protests taking place. I don’t think these protests will affect my trip or what I plan to photograph, but it’s good to always good to stay up-to-date with what’s going on.

Before I arrive at my destination, I always sort out some way to use my iPhone when I get there. This can mean either having a SIM card for the country I’m visiting or setting up international roaming before I go.

On the way from the airport or train station to my hotel, I look for interesting things to photograph. I have my phone at the ready with maps loaded up tracking the journey I’m taking. If I see something interesting, I screenshot the map, so I have the exact location on my phone for future reference.

photographing a city-matt-murray

Children playing in the Faroe Islands photographed on a telephoto lens.

Once you’ve arrived

You’ve arrived at your hotel, dumped your bag and are now ready to hit the streets and tick off that shot list. Before you go, make sure you have everything you need and leave anything you won’t need at the hotel. Remember to go easy on the air conditioning or heating – extreme temperature changes can fog up your camera lenses.

Take a few minutes to double-check your camera (especially your ISO and image quality settings), make sure you have fully-charged batteries and formatted memory cards. Then synchronize the clocks on your cameras at local time.

Regardless of the time I arrive, I always try to hit the streets as soon as I can to get a feel for the place. In tropical locations, shooting conditions are not always ideal during the middle of the day when it’s very bright with the sun overhead. It’s still possible, however, to look for opportunities to keep shooting. On a recent trip to Indonesia, I found the most beautiful light in a semi-covered market place in Borobudur. I took some of my favorite shots of the trip at that market.

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Borobudur Market.

After the sun is well and truly below the horizon, you may think it’s time to head back to the hotel, but always see if there are opportunities to photograph food vendors or night markets. You’ll need either a fast prime or zoom lens in conjunction with using a higher ISO to capture handheld shots or a tripod for longer exposures.

Backups

When you’re finished shooting for the day, it’s time to head back to your hotel and backup your images.

For each trip, I create a new Lightroom catalog on my laptop. I then import the images into Lightroom, specifying that the images should be copied from my SD cards to an SSD hard drive plugged into my MacBook.

After the import, I copy these folders and the Lightroom catalog to a second SSD drive. I always keep these SSD hard drives in separate locations – one with me in my camera bag, and one in my luggage. As I review my shots in Lightroom, if there are any that I think are perfect for my needs or my client, I make another backup of those select images to DropBox. When I get home, I transfer the folders and Lightroom catalog from my laptop straight to my desktop computer.

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Final thoughts

I hope these tips will help you think about what you need to plan and research when you’re in a city for the first time on assignment.

Always remember, though, despite the amount of research and planning you do, things are often out of your hands. If you can’t get that iconic shot due to weather conditions, street closures, scaffolding or who knows what else, don’t beat yourself up too much about it. Instead, concentrate on other opportunities that you can capture while you’re there to make the most of your time.

Do you have any other tips you’d like to share on photographing a city in 48 hours? Share with us in the comments!

 

photographing a city in 48 hours

The post Top Tips for Photographing the Best a City has to Offer in 48-hours appeared first on Digital Photography School. It was authored by Matt Murray.


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Report: The next GoPro will shoot 4K 120fps video, offer screen, light and mic accessories

16 Aug

Photo Rumors, citing sources based in China, is reporting a number of specs for the next generation of GoPro action cameras and has a set of purported images of the unreleased device.

According to Photo Rumors’ information, the action camera — expected to be called the GoPro Hero 8 — will be announced in September 2019.

The updated action camera is said to feature a new design with an optional housing that features cold-shoe mounts on the top and side for attaching accessories. Photo Rumors specifically mentions microphone, LED light and screen accessories. The leaked renderings show off the LED light and screen accessory, the latter of which appears to have a USB-C port on the side of it.

In terms of specs, Photo Rumors is reporting the action camera will be able to shoot 4K video at 120 fps and Full HD at 480 fps, all powered by a 12-megapixel sensor and GoPro-designed GP2 chipset. It’s also said the camera will feature an improved lens design for better image quality.

As with all rumors, the specifications should be taken with a grain of salt, but the renderings look identical to past product images from GoPro and the specifications do align with the incremental improvements GoPro has made over the years to its action camera lineup.


Image credits: Image via Photo Rumors, used with permission

Articles: Digital Photography Review (dpreview.com)

 
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Google confirms that Pixel 4 will offer multiple rear cameras

13 Jun

Leaked renderings of the upcoming Pixel 4 seem to have prompted Google to get ahead of its own story by tweeting an image of the device well ahead of its expected fall launch date. Prominently featured is a square “bump” that appears to house two rear-facing cameras, a flash and two smaller sensors, one of which is visible if you raise the image’s shadows.

We imagine that the small sensor to the right of the flash is a spectral + flicker sensor, something that helps avoid banding with flickering light sources and also helps the auto white balance algorithm estimate the dominant illuminant for better color reproduction. The Pixel 3 has one of these sensors next to its flash, too.

The fourth sensor, positioned above and centered between the two main cameras, appears too small to be another camera unit. We’ve often wondered about the future inclusion of a Time-of-Flight (ToF) camera in the Pixel lineup. Competitors like Huawei and Samsung have been adding these sensors to their devices to help with depth mapping. The Pixel 3’s portrait mode images were already among the best from current mobile devices, so we’re interested to see what the addition of a secondary camera – and whatever that additional sensor is – might add up to.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon, Atomos team up to offer 4K Raw capture over HDMI to the Ninja V external recorder

11 Jan

Atomos has announced it’s working alongside Nikon to develop PreRes Raw recording with Nikon’s Z6 and Z7 mirrorless cameras. This marks the first time any mirrorless camera will be able to output 4K Raw video over HDMI to an external recorder, in this case the Atomos Ninja V.

‘Capturing Apple ProRes RAW video with the Ninja V unlocks complete control of the video image at the highest quality possible,’ says Atomos in the press release. ‘The maximum dynamic range, color accuracy and detail is preserved, while at the same time every aspect of the video image can be controlled with precision for maximum creativity.’

Atomos explains the Raw video capture works by streaming Raw data across an HDMI cable to the Ninja V external recorder. That footage is then repacked into the ProRes Raw format and stored to a removable SSD drive inside the Ninja V.

When the SSD drive is full or shooting is completed, the drive is then removed and connected to a computer for post-processing. The resulting footage is decoded (debayered) on the computer, as it’s quite a processor-intensive process, and ready to be edited accordingly.

As previously noted, this is the first time 4K Raw video over HDMI has been seen in a mirrorless camera. The Blackmagic Pocket Cinema Camera 4K offers Raw output both internally and over USB Type-C, but not over HDMI.

Atomos and Nikon are currently showing off the new 4K Raw recording feature at CES 2019 (Booth #14006), but there’s no official timeframe on when we’ll see this new capability publicly.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon Z7 and Sony a7R III offer similar results in our image stabilization test

10 Jan

Battle of the high-res mirrorless IS systems

Both the Nikon Z7 and Sony a7R III feature 5-axis in-body image stabilization. When tested against one another at 24mm, 55mm and 200mm both cameras’ IS systems proved similarly useful. Users can expect around 2 to 3-stops IS advantage when shooting with wide angle lenses, 3 to 4-stops when using normal lenses and 4 to 5-stops when shooting with telephotos (helped by both cameras making use of in-lens IS at 200mm).

Nikon Z7 vs a7R III IS test results:

24mm 55mm 200mm
Nikon Z7 2.3-stops 4-stops 4-stops
Sony a7 R III 2.6-stops 3.3-stops 4.6-stops

These results correlate pretty similarly to our Sony a7 III IS test. That camera is rated as being 0.5EV less well corrected than the a7R III, so it’s not surprising to see that it performed about 1 stop behind its high-res counterpart at 200mm.

How we test and why

Our standard image stabilization test is performed by shooting 10 frames of our test target, starting with a shutter speed of 1/focal length and working our way downward in intervals of 2/3-stops using a neutral density filter (to maintain the same aperture). The test is done at 24mm, 55mm and 200mm, since the challenges of stabilization change with focal length and exposure duration.

We first do this with IS on, and then with IS off. The images for both are then assessed to the following standard:

Excellent Some softness
Noticeable blur Unusable

1) Excellent – the best the camera is capable of
2) Some softness – only distinguishable from Excellent by comparison
3) Noticeable blur – blur can be perceived without reference to another image
4) Unusable – significant motion perceptible

After each frame is assessed, we plot the results in the graphs you see below. We then compare the lowest shutter speed at which the camera was able to maintain a 50% or greater hit rate with IS on and off at a given focal length (images that are acceptably sharp are those rated ‘Excellent’ or ‘Some softness’). This allows us to determine how effective the IS system is in real world shooting.

Our results compared to CIPA

CIPA offers a good baseline to compare cameras, but CIPA tests tend to use focal lengths around 50mm (which are relatively easy to stabilize) and do not include any rolling motion, which can give very high numbers. For instance, the Sony a7R III’s in-body stabilization is quoted as offering a ‘5.5-stop shutter speed advantage,’ according to CIPA testing (the Nikon was rated at 5-stops). That suggests you can get usable shots, consistently, at 0.8 secs (5.3-stops below one over focal length), which we could not reproduce: at 1/2 sec (4.6-stops below) we were only about to get one usable shot in ten with IS on.

Nikon results

24mm Equivalent
55mm Equivalent
200mm Equivalent
Stabilization On Stabilization On Stabilization On
Stabilization Off Stabilization Off Stabilization Off

For 24mm and 55mm we tested the Z7 using the Z 24-70mm F4. At 200mm we used used an adapted Nikon 70-200m F2.8E FL ED VR.

At 24mm with IS on, the Z7 maintains a 60% acceptable hit rate at 1/5 sec and a 40% at 1/3 sec, which indicates 1/4 sec would likely be where it’d hit the 50% acceptable threshold. With IS off, the acceptable rate is 60% at 1/20 sec and plummets to 10% thereafter. The results indicate about a 2.3-stop IS advantage at 24mm.

With IS on, the 50% acceptable hit rate at 55mm should be 1/4 sec – the Z7 maintains an 80% acceptable rate at 1/5 sec and a 40% at 1/3 sec. With IS off, we weren’t able to hit the 50% acceptable threshold at 1 over the focal length (40%), but it’s safe to assume at a third a stop faster (1/60 sec), 50% should be manageable. 1/60 sec off vs 1/4 sec results in a 4-stop IS advantage at 55mm.

At 200mm, the Z7 maintained a 50% or greater hit rate down to 1/8 sec, our lowest speed on the graph. We pushed it an additional 2/3rds stop slower in testing (down to 1/5 sec) and found it dropped to a 30% hit rate. With IS off we were able to get 50% or greater usable down to 1/125 sec. The result is a 4-stop IS advantage at 200mm. This is helped by the use of a VR lens: Nikon says the pitch and yaw corrections are handled by the lens, where possible.

Sony results

24mm Equivalent
55mm Equivalent
200mm Equivalent
Stabilization On Stabilization On Stabilization On
Stabilization Off Stabilization Off Stabilization Off

At 24mm we tested using the Sony 24-70 F4 OSS, at 55mm we used the Sony 55mm F1.8 and at 200mm we used the Sony 70-200mm F2.8 GM OSS.

At 24mm with IS on, the a7R III maintains a 60% hit rate down to 1/5 sec and 40% hit rate at 1/3 sec, meaning 1/4 sec is where it’s likely to hit the 50% threshold. With IS off this threshold is reached around 1/25 sec. This gives the a7R III about a 2.6-stop advantage at 24mm. Note that this result includes the use of a lens with its own stabilization (though sensor shift is usually better-suited to the corrections needed for wide-angle lenses).

At 55mm we opted to de-couple the Sony’s sensor IS from lens IS by using a non-stabilized lens (the same we tested on the a7 III). With stabilization on, the hit rate was 60% at 1/8 sec and 40% at 1/4 sec meaning 1/6 sec is the likely 50% point. We weren’t able to get a 50% hit rate with IS off at one over the focal length, but it’s safe to assume we would have by 1/60 sec (and surely by 1/80 sec). This gives us at least a 3.3-stop advantage at 55mm using sensor IS alone.

Like the Z7, we tested the a7R III at 200mm with IS on down to 1/5 sec. Good thing we did: it’s not until this speed that a7R III’s IS system also drops below the 50% acceptable threshold with 2 images rated ‘some softness.’ This means you can expect a 50% or greater hit rate down to 1/8 sec with IS on vs 1/200 sec with IS off, providing a 4.6-stops advantage at 200mm. Like the Nikon, this is helped by the use of a lens with IS, which is able to provide the large movements needed to correct long focal lengths.

Articles: Digital Photography Review (dpreview.com)

 
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Ibis Switzerland hotels offer social media pros to manage guests’ Instagram accounts

05 Dec

Ibis hotels in Switzerland are offering guests a new service called Social Media Sitter. With this, customers can use “Instagram professionals” provided by the hotel to manage their Instagram profile while on vacation, enabling guests to “enjoy the city without a smartphone in front of the face,” the company explains on its website.

The Social Media Sitter service is now available at Ibis hotels in Zurich and Geneva. The company lists several “Instagram professionals” on its site who specialize in categories that include fashion, travel, beauty, culture, art, and more.

The Instagram sitter shares “the best posts” on the guest’s profile, though it’s unclear how the service works. Presumably the Social Media Sitter is provided with the customer’s username and password; the company’s video suggests the sitter will follow the guests to capture candid shots and will manage the account’s comments and likes on the user’s behalf.

It’s unclear whether Ibis plans to launch its Social Media Sitter option at its other hotels. The new service appears popular, though, as Ibis’s Geneva and Zurich locations both show their Instagram professionals having been fully booked each weekend throughout November.

Articles: Digital Photography Review (dpreview.com)

 
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